The album opens with the upbeat Freudian Slip which, after a big synth swell, opens up with a driving Wikström guitar riff which is nicely backed by Applegren's big keyboards. This main riff is very 1980s sounding, and the song feels like a bit of a throwback to the band's Organized Crime era. It is clear from the off that big hooks have really been pushed on this album. The song's main riff sticks in the brain after only a couple of listens, and the chorus is very poppy with an excellent performance from frontman Robert Ernlund - who sounds as good now as he did in the 1980s. The verses take on a more stripped back approach, with chiming guitar arpeggios and a more sultry vocal performance, but the choruses are explosive thanks to a reprise of the song's opening riff, layers of synths, and plenty of vocal harmonies. Wikström impresses with a shredded guitar solo, too, and the song's relatively simple arrangement and soaring hooks means that the album opens with its best foot forward. Rabbit Hole is somewhat heavier, and opens with a riff that has something of a John Sykes vibe to it - albeit simplified somewhat to make it sound more strident. There are still plenty of keyboards to be found here, but this song is very much a guitar-heavy piece - with a stop-start chorus that makes the best of Wikström's muscular playing. The song's chorus is much simpler this time, but Ernlund's vocal hooks sit perfectly against a guitar-heavy backing and the punchy drumming of long-time drummer Jamie Borger ensures that the overall heaviness is retained despite the song's natural crunch. The harder edges of the song are shaved off by the keyboards though, which is typical of the album's sound. This is very much a melodic rock album rather than a true hard rock one - which means that there is a certain smoothness, even during the weightier songs. Sinbiosis is similar, but places much more of a focus on Påhlsson's bass playing throughout. From a bottom end perspective, Sinbiosis is the heaviest of the opening three songs - but the soaring melodies act as a balance to ensure that there is enough of an AOR sheen to satisfy the band's long-time fans. The main guitar riff is quite angular, but is doubled by the keyboards for an extra melodic push - whilst the verses are more stripped back to push Påhlsson's bass to the fore. The rumble of the bass is ever-present throughout the song, with even the soaring chorus being grounded by the low end - which provides a nice contrast to Ernlund's hooky melodies. Home of the Brave slows the pace down somewhat - at least at first - following three rather upbeat opening numbers. The song reins in the heaviness and goes for a much purer AOR sound this time, and it opens with some great piano melodies from Applegren. It is not long before the song kicks in, though, and whilst the pace is upped there is a real smoothness throughout thanks to Wikström's melodic lead playing and an absence of any meaty riffs. This is a song that very much focuses on hooks - whether they are courtesy of Ernlund or Wikström's guitar - and everything feels that little bit more polished here. Layers of keyboards, as well as reprises of the opening piano moments, help to further bulk out the song - and help it to reach its potential.
Both Ends Burning is similar to the previous song in that it takes a very lead-based approach to melody, but overall it is much crunchier than Home of the Brave - returning to the toughness of the album's opening moments. There is a lot more guitar riffing to be found this time, which back up the melodic guitar leads nicely, but there are also moments which are less heavy - such as parts of the verse which again see much of the instrumentation drop out to allow the bass to shine. As such, the song is one of the more dynamic cuts here. It mixes tough riffing with more atmospheric sections nicely - and Applegren's keyboards are ever-present to ensure that everything is surrounded by a sheen of melody. The song is a good example of Treat's modern cinematic approach to songwriting, and there is a lot going on despite it still essentially being a piece that focuses on hooky melodies. My Parade opens more slowly with acoustic and slide guitars - which gives the song something of a country vibe. This is only enhanced when Applegren's piano melodies kick in, and Ernlund starts to sing the verses. There is very much a modern country feel throughout the song, and it sounds very different from everything else that has been featured on the album up to this point. It does stick out, but a lot of AOR bands have written songs like this in the past - and the walls of synths help to ground the song on the album. There are moments that do get slightly heavier, where Wikström picks up his electric guitar again, but these are quite short lived and generally the songs revels in its acoustic basis - with the rhythm section providing what crunch the track has. Wake Me When it's Over initially sounds like it is going to be similar, as it opens with some spacey piano - but it soon morphs into another mid-paced melodic rocker based around some chunky guitar chords and a busy keyboard lead. Applegren's keyboards are definitely very important to this song, and arguably his melodies and sounds are the leading hooks throughout. The main instrumental hook is very keyboard-focused, and there a lot of flourishes throughout the verses that add to the song's overall vibe and nicely compliment Ernlund's vocal melodies. There are also plenty of keyboard lines during the bouncy choruses, too. Jesus from Hollywood opens with a busy guitar line, but this soon drops away to leave Ernlund singing alone against Applegren's pulsing synths. This is no ballad, however, and the verses have a strange overall sound thanks to the keyboard textures used - and this allows the harder rock section of the track to hit harder when the drums crash in and the song ramps up towards its chorus. As such, the song is very varied - and the overall dynamic approach really helps the track to stand out in my opinion. It is song that grabbed me from the off, and it is still one of my favourite cuts here - which is helped by it having one of the album's best choruses.
Magic slows things down again, and takes a more ballad-esque approach. For a melodic rock album, it is strange to have to wait until the album's final third to hear its first proper ballad. Treat are a band that like to rock, but even they cannot resist slowing things down and getting a little more emotional. Unsurprisingly, the piano work of Applegren is prominent throughout - but the song is not a stripped back ballad, as it still has a very full sound. The guitars add colour throughout, and the rhythm section ensures that there is still plenty of punch. There are a couple of great Wikström guitar solos here, too. Both of his solo spots are extremely melodic and cut through the layers of keyboard nicely - to add a touch of class to what is a very enjoyable song. Like Jesus from Hollywood, Carolina Reaper is one of the songs that stood out to me when I first listened to album, and it has remained a favourite. This is largely thanks to its soaring chorus, which is another of the album's best. There are songs here which are much more musically interesting than Carolina Reaper, but its soaring, melodic nature cannot be denied. I also like how it sounds somewhat more organic than is usual for Treat. With the exception of his use of piano, Applegren's keyboards are generally very synth-based and modern sounding. He uses some more retro-sounding organs this time, though, which adds some additional rumble to the track. This more organic approach is another reason why the song stands out, but the main reason is the soaring melodies which rear their heads during the chorus - which is sure to stick in the brain after only a couple of listens. Dark to Light ups the heaviness quite considerably, and it is easily the heaviest song here. Applegren's keyboards are still used liberally throughout, though, which help to add a melodic sheen to the track, but the guitars are much weightier than usual - which gives the song a grinding heaviness. In my opinion, though, this approach works well. Treat a very much at the harder rock end of melodic rock, so the step over the line is welcome. It is fun hearing the band operating within a much heavier zone here, and it helps to add an extra dimension to the album. The song is still melodic though, with Ernlund's vocal melodies generally being the main hooks here. The album then comes to a close with To the End of Love, a song which slows things down somewhat - especially compared to Dark to Light - and goes for a big AOR sound. The chorus is another of the album's biggest, whilst the rest of the song is very atmospheric thanks to big keyboard layers and lots of melodic piano playing from Applegren. It very much has the feel of an album closer, as the song pushes its chorus hooks - which really soar. There is also a keyboard-led instrumental section which sounds very epic, which then morphs into a big guitar solo full of choice melodies. Due to these epic hooks, the song ensures that the album ends on a high and it provides a last look at the band's more melodic side. In truth, though, this side is on show throughout the album. There are plenty of heavier moments, but there are always hooks to be found here - and every song brings something to the table. It is a very balanced album in that regard, and anyone who is a fan of melodic rock and AOR should find plenty to enjoy within.
The album was released on 8th April 2022 via Frontiers Records. Below is the band's promotional video for Freudian Slip.
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